| Abstract: | In this essay, through an examination of its cultural situation, narrative style, and cinematic structure, I hope to explain the controversy that surrounded Roman Polanski's 1971 film version of Macbeth. With both complex cinematic semiology and poignant sociohistorical mediation, Macbeth brings to a critical juncture the philosophies of the 1960s’ peace‐love—revolution hippies, Vietnam war protestors and civil rights activists, the reified mainstream American populace, and the ruling conservatives, as well as society's preoccupation with aestheticisation. Specifically, I argue that Macbeth manifests what Gilles Deleuze calls the “crystal‐image,”; and, by extension, realises Antonin Artaud's “Theater of Cruelty,”; and, in effect, constitutes a terrorist intervention into a discursive cultural and ideological struggle. Ultimately, I argue that Macbeth itself, in totality, is a “crystalline narration”; that is shot through with various allusions to actual and virtual circumstances particular to the cultural environments from which it initially emerged in Renaissance England and then re‐emerged in the US of 1971. In the first of what is a three‐part analysis, I compare these cultural environments. The second section explicates Deleuze's theories on cinema and discusses them in conjunction with an analysis of the film's Theater of Cruelty. Finally, I contemplate the film ‘s sociopolitical implications. |
